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States sua: 28. 



AND APPLiCATION TO BOOKS OF THE^ 
SIXTEENTH AND SEVENTEENTH CENTURIES 



OlomptkJJ by ^eurg? JFabgan 



COPYRIGHT 1916 

BY 
GEORGE FABYAN 



/^ 







In Homage to the Memory of 

Isabella Francis Fabyan 

Her Boy 

dedicates this work which he considers his best 

to Mother 



/ 



SEP "9 lC!5 



^Cl.A4378S0 



Foreword 



V 



In certain volumes published in the 16th and 17th centuries, the use and com- 
mixture, without any apparent reason, of two forms of type, both in the roman and 
the italic letters, has long been a matter of comment and discussion among lovers of 
books and book lore, and although various theories have been advanced by researchers 
and students of Elizabethan literature, none of them have seemed to answer the 
question. 

Twenty years ago, Elizabeth Wells Gallup, an instructor in English, was reading 
an original of Sir Francis Bacon's De Augmentis Scientiarum and the chapter on Ciphers 
appealed strongly to her reason. Of the books of the Elizabethan period, none are 
of greater importance than the 1623 Shakespeare Folio, which contains a vast number 
of examples of the use of two forms of type. She asked herself whether there might 
not be concealed within this work a cipher such as Bacon described. 

Bacon explains In the above mentioned chapter how a secret or interior note may 
be Infolded within an apparently simple open or exterior message by the use of two 
forms of type very similar in appearance but still showing to the closely observant 
or experienced eye distinct characteristics, by means of which these two forms may 
be distinguished. Bacon calls attention to the mathematical fact that the trans- 
position of only two different objects (blocks, letters, etc.) will yield thirty-two dis- 
similar combinations, of which only twenty-four would be necessary to represent all 
the letters of our alphabet (I and J, U and V, being used Interchangeably in the 16th 
century). By referring to the code given by Bacon It will readily be seen that a row 
of fifteen blocks in which the 1st, 4th, 8th, 9th, 10th, and 13th were black, the rest 
white, would spell out the word "the". If black and white blocks are replaced by 
capital and small letters respectively, the name 

BillterAL CipHer 

still contains the hidden word "the". But now suppose the differences between the 
two forms (called for convenience the a and the b forms) are not so apparent as In the 
above examples; suppose that In this name "Bl-literal Cipher," letters of two only 
very slightly different, but still distinguishable, forms were used, it is clear that the 
word "the" could still be infolded within It. Hence by the appropriate use of type 
of two forms, a sentence, a paragraph, a page or an entire book, might be made to 
infold a hidden message of an Import wholly different from the apparent language of 
the printed page. Nor is this reading between the lines, but it Is discovering in the 
lines something not apparent at a cursory glance. Neither Is it necessary in order 
to achieve this that the original language of the printed page be framed, altered, or 
modified for the purpose in any manner whatsoever. It is only necessary that after 
the obvious or open language of the manuscript is written, some distinguishing mark 
should be placed, for the direction of the printer, under each letter which Is to be set 
up from the b form. All the other letters would naturally be set up from the a form. 



To decipher such material then, it would be necessary first to be able to recognize the 
a and the h forms, in the type used, and secondly, to know the code which had been 
employed. 

Having mastered the examples given by Lord Bacon in both the editions of De 
Augmentis Scientiarum or "The Advancement of Learning," Mrs. Gallup determined 
to apply the principles of Bacon's Bi-literal Cipher to the 1623 Shakespeare Folio. 
Opening the Folio at random she turned the leaves to select the page of the most 
characteristic italic type she could find, and chose the page containing the Prologue 
to "Troilus and Cressida", in which even a casual inspection will disclose the presence 
of two forms of type for certain letters. (Note such outstanding examples as the 
capital Ps, the capital N^s, the capital T^s, and the small w^s.) Having noticed the 
undoubted presence of two forms of type, Mrs. Gallup's first step in endeavoring to 
determine whether this page does or does not contain the Bi-literal Cipher, was to 
study the dififerences between these two forms; her next step was to decide which was 
to be termed the a form and which the h form. The fact that in Bacon's code the 
as predominate greatl)-" over the b''s, suggested to Mrs. Gallup that the a form might 
probably be that occurring most frequently on the printed page, if the code given by 
Bacon had actually been used. Examining each letter under a magnifying glass, she 
tentatively assigned each one as an <2 or a ^ form, marking it accordingly. Having 
completed the marking in this manner, she applied Bacon's own code but without any 
intelligible result. She noticed, however, near the bottom of the page, that the 
groups of a and b resulted in giving by application of the Code a collection of letters 
as follows: 

ELIZXBEXH 

(X: — Mrs. Gallup does not remember the two letters where X is used in the above 
word.) 

She realized that this combination of letters was probably intended to spell out 
the word "Elizabeth." She changed carefully the markings of the groups which 
formed the letters here designated by X, making, as she did so, sketches of the char- 
acteristics and differences of the letters she so changed In producing the word "Eliza- 
beth." Then with this additional information, Mrs. Gallup carefully marked each 
letter of the Prologue anew — to find to her own amazement, when she had finished, 
the astounding message which the student will himself have the pleasure of deciphering 
in a succeeding lesson. After the Prologue, she studied and deciphered other passages 
concealed in the apparently meaningless type forms. Later she applied the methods 
to a number of 16th and 17th century works, with negative results in certain cases, 
but positive results in others. 

Such, then, is the history of the discovery of the use of a cryptic or secret writing 
in certain of the aforementioned volumes, which for three hundred years escaped 
detection — The Bi-literal Cipher of Sir Francis Bacon. 

The advantages to be gained from the study of the Bi-literal Cipher are many 
and various: — It calls into play both literary knowledge and technical and mechanic- 
al skill: it trains the eye to close observance; It trains the hands In printing, which is 



now almost a lost art; it requires and teaches not only accuracy, but the absolute 
necessity for accuracy, which is very desirable in any walk of life — in a word, the 
study of the Cipher may, when pursued earnestly and accurately, achieve that most- 
to-be-desired end of all education, a thoroughly trained mind. As for its historic 
value, that is inestimable, as the search after Truth is the greatest of all pursuits. 
In addition, its practical values are numerous: it may be utilized in kindergarten 
teaching in blocks, beads, weaving, or colors; in the entertainment and education 
of children, old people, or invalids, it may be an easy and most pleasant factor; and 
in the instruction of the blind, the use of the cipher embossed and placed vertically 
would require the learning of but two differences or characters in place of twenty-six; 
and finally, let it not be forgotten that the Cipher permits of transmission of thought, 
regardless of censorship or the curiosity of others. 

The mastering of the principles of the Bi-literal Cipher is really a simple matter. 
Young people of fourteen years and upwards, it is found, note readily differences in 
type. One young student in the Riverbank Laboratories marked 940 letters in three 
hours with only eight errors. But the application of these principles to the Eliza- 
bethan volumes which contain the Bi-literal Cipher is a more difficult matter; first, 
because in order to escape suspicion and detection at a premature time, and secondly, 
because of the unavoidable variation due to the imperfect methods of printing in 
use at that time, the two forms of type are not so clearly distinguishable as in the 
examples given by Bacon himself. However, the earnest student will in time over- 
come these obstacles, and by concentrated application learn to decipher even the 
most difficult passages and works. After all possible mechanical assistance has been 
provided, the requisites on the part of the student are only earnest purpose, good 
eyes, and a good mind. 



Ui 



TnAXSI.ATION OF THE " DE AJGMEXTIS.'' 



THE SIXTH BOOK. 



415 



^;>*•ak of stories or metre) it is (as I said before) like a luxuriant 
|'!:i:il, tliat comes of the lust of the earth, without any formal 
►•••••I. Wherefire it sprcails everywhere and is scattered far 
ninl wide,— so that it would be vain to take thought about the 
«lffocts of it. AVitli this therefore we need not trouble our- 
•pl%'es. And Avitli regard to Accents of words, it is too small a 
mutter to speak of; unless perhaps it be thouglit worth remark- 
in'», that while tlio accentuation of ?cords has been exquisitely 
«i'i.*orvcd, tlie accentuation of sentences has not been observed 
■t all. And yet it is common to all mankind almost to drop^ 
the voice at tlie end of a period, to raise it in asking a question, 
•nd other tilings of the kind not a few. And so much for the 
part of Grammar which relates to Speech, 

As for "Writing, it is performed either by the common al- 
phabet (which is used by everybody) or by a secret and pri- 
vnte one, agreed ujjon by particular persons ; which they call 
ciphers. And with regard to the common orthography itself, a 
controversy and question has been raised among us, — namely, 
whether woi-ds ought to be written as they are pronounced, or 
in the usual way. But this apparently reformed style of wrltino- 
(viz. in which the spelling should agree with the pronuncia- 
tion) belongs to the class of unprofitable subtleties. For the 
pronunciation itself is continually changing; it does not remain 
fixed ; and the derivations of words, esjjecially from foreign 
tongues, are thereby completely obscured. And as the spelling 
of words accor^Jing to the fashion is no check at all upon the 
Cuhion of pronunciation, but leaves it free, to what purpose is 
tlii» innovation ? 

Let us proceed then to Cijihers. Of these there are many 
kinds : simple ciphers ; ciphers mixed with - non-significant 
rharactf^rs; ciphers containing two different letters in one 
character; wheel-ciphers; key-ciphers ; word-ciphers ; and the 
like. But the virtues required in them are three; that they 
l>o easy and not laborious to write; that they be safe, and 
iiiipos-iible to be decipliered ; and lastly that they be, if possible, 
cuoh as not to raise suspicion. For if letters fall into the 
h:inds of those who have power either over the writers or over 
those lo whom they are addressed, although the cipher itself 
iii:iy 1)0 safe and impossible to decipher, yet tlie matter comes 
ii'iliv I'xnmiuation and question; unless the cipher Jbe such as 
■ iihcr lo laic ni .-u-picion or to elude inquiry. Now for this 



elusion of inquiry, tliere is a new and useful contrivance for if, 
which as I have it by me, why should I si-t it down among the 
desiderata, instead of propounding the thing itself? It is tliis: 
let a man have two alphabets, one of true letters, the other of 
non-significants; and let him infold in them two letters at once; 
one carrying the secret, the other such a letter as the writer 
would have been likely to send, and yet without anything 
dangerous. Then if any one be strictly examined as to the 
cipher, let iiim offer the alphabet of non significants for the 
true letters, and the alphabet of true letters for non-significants. 
Thus the examiner will fall upon the exterior letter; which 
finding probable, he will not suspect anything of another letter 
within. But for avoiding suspicion altogether, I will' add 
another contrivance, which I devised myself when I was at 
Paris in my early youth, and which I still think worthy of 
preservation. For it has the perfection of a ciplicr, whicli is 
to make anything signify anything; subject however to this 
condition, that the infolding writing shall contain at least five 
times as many letters as the writing infolded : no other con'li- 
tion or restriction whatever is required. Tiie vHxy to do it is 
this: First let all the letters of the alphabet be resolved into 
transpositions of two letters only. For the transposition of two 
letters through five places will yield thirty-two diflcrences; 
much more twcntv-four, wliicli is the number of letters iu our 
alphabet. Here is an exampL- of such an alphabet. 

Example of an Alphabet in two 1 iters. 

A B C D L F G 

Aaaaa. aaaah. aaahn. aaulih. tiuhan. (luhnh. nubia. 

H I K L M y 

aabbb. abaaa. abnah. uhaba. ahuhh. ahhaa. uhboh. 

p Q R i> T r Jr 

abbba. abbbb. baana. baauh. baaba. baabb. babaa. 

X Y Z 

babab. bubba. bubbb. 

Nor is it a slight thing which is thus by the way effected. 
For hence we see how thouglits may be communicated at any 
distance of place by means of any objects iiereeptible eitlier to 
the eye or ear, provided only that those objects arc capable of 
two (iiflerenccs ; as by bells, trumpets, torches, gunsliots and the 



VOL. 



PHOTOSRAPrttD FROM 

.JAMES SPEDDING'S EDITION OF LORD 



BACON'S WORKS 18 57 



•iin 



THANSI. ATIOX or THr. ■• DE AIGMENTIS." 



Tnr. ^iXTH nooK. 



447 



lilii'. liut to iiidrccd wiili our I)u.-inc?«: when you prepare to 
write, you must reduce t!ic interior cpi>tle to this biliteral 
alpliubut. Let the interior epistle^bc 

Fly. 

jRxample of reduction. 

FLY. 

aabab. ababa. habba. 

Have by you at the same time another alphabet in two 
forms ; I mean one in which each of the letters of the commoa 
alphabet, both capital and small, is exhibited in two different 
forms, — any forms that you find convenient. 

Example of an Alphabet in two forms. 



a 
A 


b 

A 


a 


b 

a 


a 

n 


b 

B 


a 


b 
b 


a 


b 
C 


a 
c 


b 


a 


b 


C 


c 


D 


D 


d 


d 


K 


£ 


e 


e 


F 


F 


f 


f 


G 


G 


9 


X 


IT 


H 


h 


h 


I 


7 


i 


i 


K 


K 


k 


i 


L 


L 


I 


I ! 


M 


M 


m 


m 


N 


N 


n 


n 














P 


P 


P 


p 


Q 


Q 


9 


1 


li 


R 


r 


r 


S 


S 


s 


s 


T 


T 


t 


t 


u 


V 


u 


u 


V 


V 






JV 


W 


w 


ai 


X 


X 


X 


X 


Y 


r 


V 


V 










z 


Z 


z 


>• 











Then take your interior epistle, reduced to the biliteral 
shape, aud adapt to it letter by letter your exterior epistle in 
the biform character ; and then write it out. Let the exterior 
epistle be, 

Dii tiut go till I come. 

Exam/ile of Adaptation. 

F L Y. 

on bah. ob aha.b a bba. 

Do not fio till I come. 

I add another larger example of the same cipher, — of the 
writinp; (jf anything by anything. 

Tlie interior epistle ; for which I have selected the Spartan 
dc-piiteli, foruK-rly sent in the Scijtale. 

All if tii^i. Miii<l,,riis is hithil. T/ie soldiers uant food. We can 

tiiilh- r '/'/ In iii'f ^ niir slfii/ IniHjtr litre. 



The exterior epi>tK\ taken from Cicero's first letter, and 
containing tiie Sjjartan despatcli within it. 

In all duly or rather pietij lozcards ijou J Siitisfy fieri/ body except 
myself. Myself I never satisfy. For so ijreat are the services irhicb 
you have rendered me, that seeing you did tiot rest in your endearoiirs 
on my behalf till the thing teas done, I feel as if life had lost all its 
sweetness, beeause I cannot do as much in this cause oj yours. The 
eccasions are these : Ammonius the King's ambassador openly besieges 
us with money : the business is carried on through the same creditors 
who were employed in it when you were here, SfC. ^K^ 

The doctrine of Ciphers carries along with it another doc- 
trine, which is its relative. This is the doctrine of deciphering, 
or of detecting ciphers, though one be quite ignorant of the 
alphabet used or the private understanding between the parties : 
a thing requiring both labour and ingenuity, and dedicated, as 
the other likewise is, to the secrets of princes. By skilful pre- 
caution indeed it may be made useless; though as things are it 
is of very great use. For if good and safe ciphers were intro- 
duced, there are very many of them which altogether elude and 
exclude the decipherer, and yet are sufficiently convenient and 
ready to read and write. But such is the rawness and unskil- 
fulness of secretaries and clerks in the courts of kings, that the 
greatest matters are commonly trusted to weak and futile 
ciphers. 

It may be suspected perhaps that In this enumeration and 
census, as I may call it, of arts, my object is to swell the ranks 
of the sciences thus drawn up on parade, that the numbers of 
them may raise admiration ; whereas in so short a treatise, 
though the numbers may perhaps be displayed, the force and 
value of them can hardly be explained. But I am true to my 
design, and in framing this globe of knowledge I do not choose 
to omit even the smaller and more remote islands. And 
though my handling of these things be cursory, it is not (as I 
think) superficial ; but out of a large mass of matter I pick out 
with a fine point the kernels and marrows of them. Of this 
however I leave those to judge who are most skilful in such 
arts. For whereas most of those who desire to be thought 
multiscicnt are given to parade the terms and externals of arts, 
thereby making themselves the admiration of those who do not 
understand those arts and the scorn of those who do ; I hope that 
my labours will have the contrary fate, and arrest the judgment 



VUL.IV. JAtVlES S^EOOING-?; EDiTlOM OF LORD 



BACG\T ^\crk; 



18 57 



IX)RD BACON'S OWN EXAMPLE OF BI-LITERAL CIPHER 
Spedding* s Editions 1857 



Manere te 



volo 



donee 



fe/iero. 



Eg9 tmni officio ac poriiis pietate enja te caeteris satisfitiio or::nih:u : 
Mihi ipse nunqtiam satisfucio. Tanta est eniin miKjnituiio tuorun tnia 
mt mtritorum, ut quouiam tit, nisi perfevta re, tie me non ecnquihti ; 
i5fo, quia non idem in tua causa efficio, t'idim mibi esse acerkim fuUrn. 
In eausa bac lunt : Ammonius regis leijatus afierte pecuuij nos ofi- 
fugnati res agitur per eosdem creditores per qiios ciim tu ,:Mr,!s injilni- 
tur: regis causa si qui sunt qui velint, qui pauci sunt, omnes ,td I'om- 
feium rem deferri vo/unt : senatus reliyionis valurnniam, non rcli(j::r:e 
ud malevolentia, et il/ius regiae largitionis invidin comprobat, M: 



Do not go till I 



come. 



In all duty or rather piety (Oicards you J satisfy every body cxcejit 
myself. Myself I never satisfy. For so great are the services tr/iut 
jfou have rendered me, that seeing you did not rest in your endctirours 
on my behalf till the thing was done, I feel as if life bad lost all its 
sweetness, because I cannot do as much in this cause of yours. The 
.ceeasions are these : Ammonius the King's ambassador openly iesteges 
(U with money : the business is carried on through the same creditors 
who were employed in it when you were here, Sfc. 





a 


b 


a 


b 


a 


b 


a 


b 


a 


b 


a 


b 






A 


A 


a 


a 


B 


B 


b 


b 


C 


C 


c 


c 






D 


D 


d 


d 


K 


E 


e 


e 


F 


F 


f 


f 






G 


G 


q 


g 


H 


H 


h 


b 


I 


7 


t 


i 






K 


K 


k 


k 


L 


L 


I 


I 


M 


M 


m 


m 






N 


N 


n 


n 








o 





P 


P 


P 


P 


• 




Q 


Q.. 


9 


1 


R 


R 


r 


r 


S 


s 


$ 


s 






r 


T 


t 


t. 


U 


U 


u 


u 


V 


V 










IV 


W 


w 


io 


X 
Z 


X 

z 


X 

z 


X 

z 


Y 


r 


y 


y 





LORD BACON'S OWN EXAMPLE OF 
BI-LITERAL CIPHER 

Spedding's Editions 1857 

Maner etevo lodon ecven ero 

Egoom nioff icioa cpoti uspie tatee rgate caete rissa 
tisfa cioom nibus Mihii psenu nquam satis facio Tanta 
esten immag nitud otuor umerg ameme ritor umutq uonia 
mtuni siper fecta redem enonc onqui estie goqui anoni 
demin tuaca usaef ficio vitam mihie sseac erbam putem 
Incau sahae csunt Ammon iusre gisle gatus apert epecu 
niano soppu gnatr esagi turpe reosd emcre ditor esper 
quosc umtua deras ageba turre gisca usasi quisu ntqui 
velin tquip aucis untom nesad Pompe iumre mdefe rrivo 
lunts enatu sreli gioni scalu mniam nonre ligio nesed 
malev olent iaeti llius regia elarg ition isinv idiac 
ompro bat&c 

Donot gotil llcom e 



Inall dutyo rrath erpie tytow ardsy ouJsa tisfy every 
bodye xcept misel fMyse Iflne versa tisfy Forso great 
areth eserv icesw hichy ouhav erend eredm ethat seein 
gyoud idnot resti nyour endea vours onmyb ehalf tillt 
hethi ngwas donel feela sifli fehad losta Hits sweet 
nessb ecaus elcan notdo asmuc hinth iscau seofy oursT 
heocc asion saret heseA mmoni usthe Kings ambas sador 
openl ybesi egesu swith money thebu sines sisca rried 
onthr ought hesam ecred itors whowe reemp loyed initw 
henyo uwere here& c 



cAaahbccddceffgghh iijllmmnnoop 

^T'VVXXyYZZ &^ 

%0!* dd^r^o (jue, cfcrmia Tratt, Ijucds ^n- jj 



' 57. ITALIC TVI'K-l.l.lTtUS. 

Phgtosrapheo from Alphabets , a Manual ofLettering for the use of 

Students, WITH Hustori cal and Practical DESCRiPTiON^By Edvv/aRd F 

STRAr-JCiE.1907 ' 

The foregoing Illustration of alphabets is presented at this 
point for the purpose of showing thf^ differences in forms of letters 
resorted to in the sixteenth century (1577). 

Ihe following statement has been deciphered from Bacon* s 
"De Augmentis" (1624) by means of the Bi-literal Cipher^ •• By slight 
alteration of the common italic letters, the alphabets of the 
Bi«literal Cipher, having the two forms, are readily obtained* ** 



The"I. M. Poem" Group 

The following group of illustrations has been assembled for the purpose of demon- 
strating the use of two forms of type in infolding a hidden message in the printed 
page. This series consists of various photographic facsimiles of the "I. M. Poem." — 
see a brief adulatory poem inserted in the preliminary pages of the 1623 Folio edition 
of Shakespeare's works. Although another poem — by L. Digges — appears on the 
same page in the original, the "I. M. Poem" has been taken as the basis of the illus- 
tration of the cipher, not because it lends itself any more easily to the purpose, but 
because of its brevity as compared to other passages. The message infolded in the 
poem is complete in itself, and is signed by its author. The illustrations are photo- 
graphic copies taken from the 1623 Folio in the Newberry Library, Chicago. 

The first illustration in the group is page 14, containing the photographic repro- 
duction of the "I. M. Poem" itself, with the Student Sheet below for the convenience 
of those desiring to mark the letters for their own satisfaction. On page 15 opposite, 
are given the alphabets of the "a" and "b" forms in use in the "I. M. Poem." In these 
alphabets the a forms are left blank, the b forms are designated by a stroke beneath 
the letter. Many of these may have "variants," but a comparison of them with the 
typical letter of the form to which they belong makes these variations easily dis- 
tinguished and understood. 

At this point the reader will turn to page 39 and open the 
double-hinged page showing the facsimile, the marked copy, trans- 
cription, and code, in order that it may be in view while studying 
the different illustrations of the poem. 

The next three illustrations of the series, pages 16, 17, and 18, present photo- 
graphic copies of the "I. M. Poem" with the lines so spaced as to permit of the typical 
form of the letter (illustrated in the alphabets on page 15) being placed over each 
letter of the poem. For the purpose of clearness this has been done over every third 
letter, and three pages therefore have been required to complete this. These pages, 
showing the typical form of the letter of the corresponding class a or b^ facilitate the 
comparison between the characteristics inherent in the two forms. • 

The three pages following, pages 19, 20, and 21, show the typical letters of the 
opposite form to that over which each is placed. This is done for the purpose of con- 
trast, to enable the student easily to note the differences between the two forms. 

On page 22 all the letters of the "I. M. Poem" have been classified according to 
their respective forms in alphabetical sequence and, in the order of their respective 
occurrence in the text. 

Page 23 of this group presents all the letters of the poem in alphabetical sequence 
and in the exact order of theiroccurrence, irrespective of the form to which they belong. 

The illustration on page 39 (the hinged page) presents a copy of the "I. M. 
Poem" with its letters marked to show to which form each belongs, in accordance with 
the preceding pages. To facilitate the reading of the decipherment resulting from 
such marking, the letters of the poem have finally been divided into groups of five, 



with the result that each of such groups represents one of the combinations of a and b 
to be found in the Baconian Cipher Code given on the same page. 

On page 24 is given additional evidence of the Cipher in the "I. M. Poem," by 
showing the test which was prepared by the Hon. James Phinney Baxter for Elizabeth 
Wells Gallup, the discoverer of the Bi-literal Cipher. Here Mr. Baxter used the 
exact type forms utiHzed in the original "I. M. Poem," but rearranged them in such 
a way as to incorporate a different secret message. Mrs. Gallup found the Baxter 
message with no less ease than the original one, both of which are given on this page 
for the purpose of comparison. 

Beginning with page 28 will be found full descriptions of the characteristics of 
each typical letter of both forms. The student is recommended to refer to these 
descriptions as a means of familiarizing himself with the alphabets and the type 
forms illustrated in the preceding pages. 



To the memorie ofM. ff^.Sha^^Jpeare. 

\T\rEBwondred(Sh2ker{p€aTe)that thou went'Jlfo/oone 

From the Worlds^Sta^itothe Graues-Tyrifig-roome^ 
Wee thought thee de4d,hut this thy printed-^orth^ 
Teh thy SpeBatorSythat thow^ent^fl hut forth 
To enter T^tth applaufe'. Jn ABors Art^ 
Cattdye^andUuejtoaBea/ecmdpart. 
That's hut an'RidtofMortalitie} '^ 

This,a^-entrancet04fUud$te, 



I. M. POEM 
Shakespeare Folio 1623 



tu. 



-i.i;.' 



^3 



Tothe memor ieofM WShak espea reWEE wondr edSha kespe 
areth attho uwent stsos ooneF romth eWorl dsSta getot heGra 
uesTy ringr oomeW eetho ughtt heede adbut thist hypvi ntedw 
orthT elsth ySpec tator sthat thouw entst butfo rthTo enter 
witha pplau seAnA ctors ArtCa ndyea ndliu etoac tease condp 
artTh atsbu tanEx itofM ortal itieT hisaR eentr ancet oaPIa 
udite IM 



(< 



m:poem 



M TT fei f hh 11 Bii oo tv it 

/ /" / / ^ /' / / / 

E> S|S aa ee hh ii kfc pp rr IT It s: 

///// ///'/// 

19 4 J IT ZO 6 

/ / / / / ""' / / 

VL 21 ao 15 IS IT _34 5 10 • 

2^ C^ EE FF GG MM ff "J^^^SS WT WW 

/ / / / ' / / / ' / / / / 

aa hh cc dd fe ff ^^ hhii II mm nn \ 

/ / / / 7 / / / / / / / 



00 pp rr ssjj it uu «>lb yy 

32. .91 16 35 d6 a 



THE ALPHABETS. 



.K 



COPYRIGHT I9lfe '^^'- 

RIVERBANK COMPANY. 



I. M. POEM. 

T h e r o W a, J a. 
To the memorie of M. W^ShaJ^,e^e^e. 



^ d d SL f ^ § t W ^ f n 

*■// ////// '/' /' / "/" 7 / / / 

r t W" I S^ ^ 'b f as r. g a 

From the Worlds -Stage ^mhe Grk^i^^riiig^rpm^ ^ 

/ / / /// / //7 "' / "' / / / 

^Wee thought thee deady hut this-0^^^^^f(arih^':U:^.,.^-,^ 

... // /// //// /'// / /// / 
^T 's y e t s a h % t u o, f 

I Teh thy SpeBatorSjthat thou '^^■^^^M^^^^^^^!\ 

/ /////// ////// 

if, i a i f n % A 

I Jo enter iithapflai^fe: An A&GrfWif^W^W^^'^^'^^^ ' ' ' 1 
/ / / / /' / / ' / ' 

Q d a I e a a Ct d r 

I C^« dye^andUuejto aEie afecondfart. /!fc;<.:M:iS I 

/ / / "/ // / 

^ 5 ^ E t M t '/ e 

I Thats hut an Exit ofMortalide ^ 

/// / //// // 
^ e t rz t f 

I T'^M, ^ ^-entrance to € ^Imdlts^ 

' / / / / / / // 

f N°l- COMPARISON WITH TYPICAL LETTER OF SANE FORM. 

COPYRIGHT 1916 "^^ 

RIVERBANK COMPANY. 



// / // 



iifiiS: 



0^ 



I.M.POEM. 

o e m i f S ,^ p 

To the memorie of M, JVShaf^e^fpeare 



r 



B or S ,k p r /; t u n f o. e 

\r\/'E E wondred (Shake-fpeare) that thou mnfjlfofoone J 

.,// 4///// / / //'// / / / ' 

h ?? d t e t G u T i r m 

From the Worlds^Stageyto the Graues-Tyrin^'rooms^ | 

/ / // ^ /// / /// / / / / 

e h g t f, a u h h r t Ti? t 

Wee thought thee dead, but this thy print^dyijorthy .i ^ | 

// /// //// /// '/'" ' 1 / / / 

e t S B 'b, t t b* e ft t r 

Teh thy SpeBatorSjthatthoun^ent'Ji hut forth 1 

//////// /// // 

T n r I p a e A r r 

To enter Tt>ith applaufe: Jn ABors Mrt^ ¥ ^Il'^l 

//// /'/ // 

a y n i t B f 0. p t 

Qandye^andUuejtoaBeaficondpart. ^^, v' .. j 

/ / / / // / // 

a h. a X a t 

That's hut anExit of Mortalitk;^ -y; ' ' \ ^^^^■:. ■' | 
////////// 

Tigcf J ci ^-entrance to 4 TlaudUio r ^^5;/K i 



/ / / / / / // 

r^COMPARISON WITH TYPICAL LETTER OF SAME FORM. 

COPYRIGHT 1916 '#M'^ 

RIVERBANK COMPANY. ^ 



.M.POEM, 

titibeM h e e e 
To the memorie of M. JVMake^fpe^^re. I 

/ / / - V / "' 

^ « f h 6 6 e a h IP t a 

\r\rE E wondred (Shake-fp eare) that tkm mW^flfifion e J 

'/^// ////// /■ / / T" *// / / 

i^-ow/ ^e Worlds ^Stage^to the 0rm^e¥^rifjg^roms^ J 

/ / / /// / /// 7 ' ' / / / 

e a h ^ d ^ t is jn i e a h 
Wee thought thee dead^ hut this thy prmt&h^or^^^^^^ > viS v 1 

// /// //////// //// 

' l h f^ a r h t 4i n ^. ^ t 
Teh thv SpeBatorSythat thou Ti?eni^/lWffwtkM^^^:'-^^^ ?? :^ 

//////// / / / ./ / 

a t % h p if A B ^ t 

To ew^er "B?/?^ applaitfe: An ABorsMrt^ -"^ -^ 

/ / / / / / / / ' ' 

we duo f e n a 
QandyeyandUuejtoaBeMfecondpart. ''-^^^^^^ 

T t u n i f t I i 

That's hut an Exit ofMortalitie ^ ; 

/// / //// // 

■h %_ n a e a a 

This^ a ^e-entranci to € 'PUtditio 
" / / / / / / // 









N^5-C0nPARIS0N WITH TYPICAL LETTER OF SAME FORM. 



COPYRIGHT 1916 ^f:^ 

RIVER BANK COMPANY. 



kk 



i.m:poem 



T h e r o 
To the rnemorie of 



, JVShake^fpeare. I 



Ti> ^ d a { SL t to e ft f n 
\/\/B Ewondred (Shake-fp eare) that than u>entftfoft)Qn e ,J 



/ 



/ / 



/ / /. / ^/ / 



/ / / / // / / 
r t W l" S g % as r 7 



Ff'^'ihe Worlds ^Stage^to the GrW^^ ^ 

/,//""//// /// / / / / 

W t u t. e € % t t p n d r 

Wee thought thee de^dy hut this thy printed y^orth^ ^>^ ;- J 

10 '//u // / / / / / / // " /'///,/" 

^ T 5 jy e t 's a h ^ t j| a h' 

Teh thySpeBatQtSjthai thou tl?entftiuffortU 

//////// 

To enter Ti>ith applaufe: An ABors Art^ 



/ / / / / / 

n A 



.gfegjii£fa5®i<'--- 



/ / / / 



/ / 



/ y 



C d a I e a a c % 
Qan dye^and UuejtoaBeafecondfcirt. 






/ / 

/; J t 



' « 15/ 



„ // / // 



That's hut an Exit ofMortalitk 



'SzJF.^il. 



16 



/ / / / / / / 4^ / / 



i 

1 
1 



«• e t n t T 
This^ a ^-entrance to 4 'PUudite^ 



/ / / / 



/ // 



N°4-C0NTRA5T V/ITH TYPICAL LETTEf? OF OPPOSITE FORM. 



COPYRIGHT 1916 
RIVERBANK COMPANY 



^-^^^ 



ii 



.m:poem. 

o e m 1 S r 

To the icneiTiorfe of M. JVMake^fpeare. I 



ii r b k p r ^1 r /^ « foe 

'^'^EEiifmJred(Shakc-(pQ^rQ)that thou wentjlfofoone J 

"■ V // //'//// / ^ / /_/'// /,*/ / 

/? 4 t f I Or u It r m 

From the Worlds ^Stagt^to the 0i^$0^rin^room€^ H 

////,/// / /// ./ / / / 

e h g t e a ii h h r t w t 

Wee thought thee dead, hut this thy printed y^orthy # > J 

? e t S B t t e ft t r 
Teh thy SpeBators^that tfoou'ti>enl^fth'^f(iTiJ^ ^^ 

10 " / //////'/ ///_//' 

T n r t p a e 4 f^ % 

To enter Ti>ith applaufe: An 4Bors Art. ■ ---^'^'' :' \ 

/ J^/ / / . ^ / / / . / 

a y n 'i t B f p t 

Qan dye^and liuejto aBeafecondpcirti . '^'^^^^^^^^^^^^BL 

a b a a, t 

That's hut anl^Xit of Mortali tie ^ j^K^ . 1' 

T 4 e r c / 

Thi6^ci%e-entr4nce'tO'i'Phudit€i - -<3^^B^"^^ I 

/ / / / / / // 

N°5-[0NTRA5T WITH TYPICAL LETTER OF OPPOSITE FORM. 

COPYRIGHT 1916 'S^^ 

ftlVERBANK COMPANY. ^ 



M.POEM 



t m o e he.ee, 

To the memorie of M, fKSha^-Jpe^re. I 



11 ^8 29 » 29 

E n e. h e e e 



a h 1B> t 
'^'^EEwondnd{Sh2kc-'(fQ2iXQ)tlMthu tpent*Jlfofoone |[ 

; ,„/ / //'//// /'/'//"// / / 

/ 30„26 * U 

r w ;g r s a t h r e y U o f 

Frmthe Wortds^Stage^to the Grkms'Fyring;'roorm^ ^ 

// / ._ /// / 3j /// /I, ' / / / 

t h h i. d t is ^y 'i % o 1 

TFi?e thou^i thee dead, hut this thy prmt0%orthy ^^ 

^' I h p a ¥ h t u nlMi 
Teh thy SpeBatQfs, thai thou '^^nt'^iuffort^^^ 



/ ////// /. 
t IP h pi u 



/ / / J / 



To enter T^ith applaufeL An ABotflkt^^ 

721 ^ 



/ _ / / / 

;2 e 






// / // 






■^MtS^'f' 



Qan dye, and UueytoaBedfecondpart 

10 "/ / / :a\ y ' // / 

T t u n .1 jT r I i 

That's hut an 'ExitofMt)rtaiitie | 

// ' / / ////./../ 
7? ^7^ n a e a ^a 

Thk^a^^-entrancetOM 'Plmdite. 

^N^5-C0NTRA5T WITH TYPICAL LETTER OF OPPOSITE FORM. 

COPYRIGHT 1916 ^P"^^- 

RIVERBANK COMPANY. ^ ^ 



ifcl A m1^ 



I.M.POEM 



M IfeS f i I iSm ooo r t T 

/ / / / 

E S aaeeehikprf tx S JV aa eee. h k^prf 



/ / // / / 



AAA. CBE FG M 9 <K.SS TTrrT WW 



///// /// 



adMadiadMamaaad'etd^. hhh cc iddddddddd 



/ 



i' 



/ / 

* m ^ ^_ ♦•^«^_» «r «' * _ ♦^ * •_,_,,_♦ • 

eieS^eieeeeeeeeeee eeettjeet^ Yf^^^ hJShhhhhJyh hhhhhhSh 



/ / 

« « » • - » * ^ • 



miui lllHl mm nnmnnnnnnnmin ooooooooooooho oboooooo 
/ // . — . , ^_ — , 

* _ » ♦ *^ ._, ^—,* * ♦ ,» » 

PPPP P ^^^^^ rrrrrrrrrrr 'sus^ s fff f 

/ ^ y ■ "'/■ / 

» ». 



mtnttmmtmt ttmtttmtttm 

I 



/ 

♦, • ♦• •, ^« * . , *, 

uuuu uuumu 'ipipyij'^i^ yyyy 

BBEi kis Jljl 

.LETTERS ARRANGED ALPHABETICALLY, CLASSIFIED ACCORDING 
TO FORM, AND IN PRINTED ORDER. ^^^.,.^ 

COPYRIGHT 1916 ^"^^^-x^ 

RIVERBANK COMPANY. 



ifcl A M^^ 



.M.POEM 



M ^fee^F E i feni boo t tT 



iKS^aaeeehifcprf ® S iff^-Meeehk i€i /^ 



/ / // / / 



/ ///// /// / 

,^.i*»„^ ._ -Jv« -^— • : r-.,-t* * ,*. ^ -^-^^ __* _-^Jl* 

// /// // /// / //////// 

/ / / // / //// //////// 



/ / / / // ////// / / 

_4^. _ _ ♦ 



'"7 / //// / / // ' / / // / / / 



LETTERS ARRANGED ALPHABETICALLY AND IN PRINTED ORDER. 

COPYRIGHT 1916 -X^T^- ! \ 

RIVERBANK COMPANY. 



EUZABETH WELLS GALLUP TESTED AS A DECIPHERER 



By James Phinney Baxter 



To thememorie oVM^.W^baki^ffeare. 

\r\TBE ii»o»irf</(Shako-fpeare) that thou went'ftfifoone 

From the WorUs'StagejtotheGraues-Tjirif^'nom. 
Wee thought thee dead, hut this tty printed Irortb^ 
Teh thy SpeElators,thatthoutnmt*Jibnt forth 
To enter »irfe appUufe, An A^ors Art, 
Qan dye,and Uue,to aSleafecojidpart, 
That's hut an Exit ofMortalitie ; 
Thii^a ^-entrance toa Tlaudite. 



To thememorie ofM.ff^Shai^''Jpearf. 

^^^BB wondred (Shakc-lpeare) that thou meniflfofoom 
From the Worlds 'Staj^ejto theGraues-Tyring-nomt, 
IVee thought thee dead, hut this thy printed »0r/^, 
Tels thi Speflators,that thou wentjl hut forth 
To enter with applaufi. An AUors Art, 
Qan dye,andliue,toaBe afccondpart. 
That's hut an Exit ofMortalitie ,• 
This, a ^-entrante ton TUuditt. 



ORIGINAL ARRANGEMENT, I.H. POEM 
Sheikespeare Folio, 1623 
As deciphered by Elizabeth Wells Gallup 

Tothe memor ieofM WShak espea reWEE wondr 
baaab aabaa aaaaa baaeia aaaba aabbb aabab 

edSha kespe areth attho uwent stsos ooneF 
abbab baaaa abaab aabaa babba aabeia baaab 

romth eWorl dsSta getot heGra uesTy ringr 
baaba aabbb aabaa aabbb aabaa aaaaa aaabb 

oomeW eetho ughtt heede adbut thist hypri 
abaaa abbaa aabba baaab abbab aabab baaba 

ntedw orthT elsth ySpec tator sthat thouw 
aabbb aabaa aaaba abbab ababb aabaa aaabb 

entst butfo rthTo enter witha pplau seAnA 
abaaa aabaa baaab aabab baaaa aaaaa abbaa 

ctors ArtCa ndyea ndliu etoac tease oondp 
aaaba abaaa baaab aaaab aaaaa baaaa abbab 

artTh atsbu tanEx itofM ortal ItieT hisaiR 
abbaa abbab aabab baabb aabaa baaaa baabb 

eentr ancet oaPla udite 
ababa aaaaa ababb 

Search for keyes, the headings of the Com- 
edies. 

FRANCIS BARON OF VERULAM. 



TEST GIVEN ELIZABETH ??ELLS GALLUP . 
By Re-arrangement of Letters, I.M. Poem 
Shakespeare Folio 1623 

Tothe memor ieofH WShaik espea reWEE wondr 
baaab aabaa aaaaa baaaa aaaba aabbb abaab 

edSha kespe areth attho uwent stsos ooneF 
aaaaa abaaa baaab aabaa baaaa abaab baabb 

romth eWorl dsSta getot heGra uesTy ringr 
ababa *baaba baabb baaaa abaab baaaa abaaa 

oomeW eetho ughtt heede adbut thist hypri 
aabaa aabba baabb abbaa aaabb beiaab aaaba 

ntedw orthT elsth ySpec tator sthat thouw 
aabbb ababa aaaaa aaaba aabbb baaba aabaa 

entst butfo rthTo enter witha pplau seAnA 
abbaa ababb aaaaa aaaba aabbb baaba abaiaa 

ctors ArtCa ndyea ndliu etoac tease condp 
baaab baaba baaaa aabaa aaaba aabbb baaba 

artTh atsbu tanEx itofM ortal itieT hisaR 
abbaa abbab aabab baabb aabaa baaaa baabb 

eentr ancet OEiPla udite 
ababa aaaaa ababb 

Search Kaiser Kultur Krieg und Schlachten 
Macht ist Recht n of Verulam. 



It is hoped that the presentation of the Bi-Hteral Cipher in the preceding pages, 
showing its existence in the pages of the 1623 FoHo Edition, and of the manner of its 
decipherment, will not be confused with the discredited "discovery" by Ignatius 
Donnelly — page 26. Donnelly endeavored to follow the directions laid down by 
Bacon in applying the Bi-literal Cipher, but he failed to carry out the very principles 
he gathered — and hence his failure. The strength of the Bi-literal Cipher lies in the 
fact that it is Bacon's own. The discovery of the application consists only in the 
skill and patience which carrying out his directions necessitates. 

That the Bi-literal Cipher is only one of many found in 16th and 17th Century 
Literature, is attested by page 27. Here are enumerated six ciphers, descriptions 
of which have been brought to light through the Bi-literal Cipher. In this connection, 
the reader will remember Bacon's own statement and enumeration on page 6 of var- 
ious kinds and forms of ciphers. 



^IHSRE IGNATIUS DONNSLLEY FELL DOm ON THB CIPHER, 
He failed to note the difference in the biofom 
character of type, and ndsoed the application. 

510 TJ/£ CIPHER IN THE FLAYS. 

Then take your interior epistle, reduced to the biliteral shape, and adapt to it 
letter by letter your exterior epistle in the biform character; and then write it out. 
Let the exterior epistle be: 

Do NOT GO TILL I COME. 
Example of adaptation. 

FLY 
aa bab ab abab a bba 
Do not go till I come. 

I add another large example of the same cipher — of the writing of anjrthing by 
anything. 

The interior epistle, for which I have selected the Spartan dispatch, formerly 
sent in the Scytale : 

All is lost. Mindarus is killed. The soldiers want food. IVe can neither get 
hence nor stay longer here. 

The exterior epistle, taken from Cicero's first letter and containing the Spartan 
dispatch within it: 

In all duty or rather piety towards yoti I satisfy everybody except myself. Myself 
I never satisfy. Ear so great are the services which you have rendered me, that, seeing 
you did not rest in your endeavors on my behalf till the thing was done, I feel as if my 
life had lost ALL its sweetness, because I cannot do as much in this cause of yours. 
The occasions are these: AmmoniuS the king's ambassador openly besieges us with 
money, the business IS can-ied on through the same creditors who were employed in it 
7vhen you we7-e here, etc. 

I have here capitalized the words all and is, supposing them to 
be part of the sentence, "All is lost," but I am not sure that I am 
right in doing so. The sentence ends as above and leaves us in 
the dark. Bacon continues: 

This doctrine of ciphers carries along with it another doctrine which is its rela- 
tive. This is the doctrine of deciphering, or of detecting ciphers, though one be 
quite ignorant of the alphabet used or the private understanding between the 
parties : a thing requiring both labor and ingenuity, and dedicated, as the other 
likewise is, to the secrets of princes. By skillful precaution indeed it may be made 
useless; though, as things are, it is of very great use. For if good and safe 
ciphers were introduced, there are very many of them which altogether elude and 
exclude the decipherer, and yet are sufficiently convenient and ready to read 
and write. But such is the rawness and unskillfulness of secretaries and clerks in 
the courts of kings, that the greatest iriatters are commonly trusted to weak and 
futile ciphers. 

I said to myself: What is there unreasonable in t|ie thought 
that this man, who dwelt with such interest upon the subject of 
ciphers, who had invented ciphers, even ciphers within ciphers — 
that this subtle and most laborious intellect might have injected a 
cipher narrative, an " interior epistle," into the Shakespeare Plays, 
in which he would assert his authorship of the same, and reclaim 
for all time those " children of his brain " who had been placed, for 
good and sufficient reasons, under the fosterage of another ? 



Photogr^h from The Great Cryptograra by Ignatiue Donnelly, 
copyrighted in 1887, published by R. 3. Pealo & Company, 1888. 



SIX OF THE CIPHERS FOUI>ID IH THE XVIth AND XVIIth CEJJTURY LITERATURE 



I. Bl-Literal Cipher. 

A B C D 

11111 



-// 



aaaab aaaba aaabb 
11112 11121 11122 

G H I 

aabba aabbb abaaa ab&ab 
11221 11222 12111 12112 

-//- -/// V- 

NOP 

fthb«« abbab abbba abbbb 

I2;;;ll 12212 122a 12222 

.//-. .//-/ -//A -//// 

T U W X 

baaba baabb babaa babab 
2X121 21122 21211 ^212 
^.A /-.// A/^ /./-/ 



K 



-/-/ 
Q 




The alphabet irtiich is called the key of 
this cipher vas firvt repreeented by comblnatioxw 
of a and b, in groups of five. Anytliiao capable 
of two differences may represent the key, ae 
figures, or other oharaotez^in writing; lighte, 
bells, flags, etc in signaling* An example 
of the key is given in three forms* It is 
Clear that in order to employ such an alphabet 
in writing or in printing, one must have both 
capital and small letters in two forms to re«- 
pre sent the a and th« J^ or 1 and 2 or * / of 
the key alphabet* It will also be seen that ecMh 
cipher letter requires five written or printed 
letters, therefore the finished work will oantaJB 
at least five times the number of letters M 
the cipher epistle* This is what is meant 
by the qxiintv^le proportion of one to the other* 



II* Anagram Cipher 



A cipher in which by the transposition 
of the letters of words, phrases or sentences, 
other words or statements may be made* A good 
oocample is the long word in Love* a Labour* e 
Lofft, f« 136* 



III* Capital I,otter Cipher 



I cipher in irtiich capital letters in 
two forms earry a secret mes^ige* 



IV* Clock or Time Cipher 



A eipher in rriiich the numbers from 
1 to 12 are keys* The numbers indicate how 
a»ny words stand between the key and the word 
to be taken* 



V* Symbol Cipher 



A cipher in which certain symbols 
have a definite meaning assigned by the writer- 
It was chiefly used to point out other 
ciphers* 



VI. Word Cipher 



A cipher in wiiich guide words indicate 
works; key words mark certain portions, ond 
joining words show ishich parts are to be 
brought together* The first two of these are 
usually given in an auxiliary cipher. 



UPPER CASE 
"I. LI 



ITALIC IBriERS IN 
, POEir 



A Fore 

The typical letter is 
plain with high, straight 
bar. A kern or a dot in the 
letter changes it fron ja to 
b or vice versa* 



A long letter extending 
beloT the line* 



No example* 



No example 



No exan^le* 



No example 



, Has a nearly even curve 
in the top at the right. 



No example 



No example 



Curved top. 



A tal], well-made letter^ 






CJ 



Z 



Large size type, narrow head 
and wide base* 



No example 




M 

P 
R 








B Form 







The typical letter is plain; 
with a ciirved or slanting bar, 
as seen in the alphabet* 



No exaxople* 

Top and bottom lines parallel; 
the kern on the base line slender 
and slanting* 

Top heavy and slants parallel 
to seriph of base* 



The short line slants toward 
the base* 

Kern short, straight, and 
blunt at the right* Third line 
shaded from top* Seriphs at 
bottom level* 

No example, 



Top forms a segment of a 
circle at the left* Upright 
does not reach the top* 

Erect; round curves* 
No example* 



The heavy, blunt letter 
with short connecting line is 
the b_-<orm* It is accented 
and therefore marked a-form* 



No example 




Well-made letter in large 
sise type ; points sharp. 



LAI^ LOVSH CASE! ITALIC IXTTERS IN 
"THE I.M. POEM" 



A^^JFons 

Slanting, some\9hat vlda 
at the base. 



If the end of the curve of 
the base llse were produced 
it would not form a perfect o* 



'f'^■ 










A^ 



B Form 
No exan^le* 



If the end of the curve of u 
the base line were produced it wouli 
form a perfect j^« 



Somewhat slender; the loop 
is narrow at the top and pointed- 




No example* 



Slender and delicate; the 
queue not widely spread at base. 




No example' 



'Ilie locp is narrow in the 

b&ttom part. 




No example* 



•SomeiiAiat broad at the top; 
both kerne are rounded. 



No example. 



Long, wvllofflade letter; the 
stem is a wave line* 




No example- 



LOVER CASE ITALIC LETTERS IK 
"THE I. M. POEM" 



A Form' 



B Form 



Typical _a form is well-made; 
the ovP-1 usually shows angle or 
shoulder and rounds gradually to 
the line of writing, making the 
letter somewhat wider at the ba^e 
than the coi're spending letter in 
the ^ form J also the oval has the 
appearance of a complete o^ placed 
in such a way that a part of one side 
side rests on the upright and often 
projects sufficiently to give the 
stem the appearance of bending 
outward near the center. 



Oval pointed at top and 
narrow at base. 



Roundness commences near 
top; curve at base usually wide. 



Stem has no wave line, but 
sometimes turns slightly to the 
left at top; toe upturned; loop 
leaves stem and rejoins it at a 
somewhat abtuse angle. 







Somewhat narrov/er at base 
than the a form; oval pointed; 
upright is often either uniform 
or slightly heavier at top. 
Letter slanted* 



Oval rounded at top; upright 
straight nearly to the base. 



Roundness commences near 
center of back; curve at base 
usually narrow. 



Wave line in stem, angle 
between stem and top of oval acute; 
point of jointure below, somewhat 
high on stem. 



A line drawn through the 
loop of this letter beginning at 
the left of the oval where it leaves 
the stem and running through the 
opposite point of the oval, in- 
tersects the lino of the end of 
the curve of the base produced 
either above or below the line 
of v/riting. 



Letter slanted; straight top, 
or, if curved, showing a small neck 
at left. 





A linb drawn through the 
loop of this letter beginning 
at the left of the oval where it 
leaves the stem and tunning 
through the opposite point of 
the oval, will run parallel to the 
line of the end of the curve of 
the base produced. 



Letter stands nearly erect; 
top curved. 



~ * 1 



LOTfiER CAS; ITALIC LETTERS IN 
"THE I. !^ POEM" 



A Form 



The lower loop is at- 
tached to the center ox the 
oval; the connecting line 
usually heavy and angular. 



The stem of this letter 
is not characteristic, unless 
perhaps slightly pointed at the 
base; a line drami upward 
through the loop so as to in- 
tersect it at the middle of 
the upper part of the curve 
tends only slightly toward the ^ 
right • 



In the typical letter 
of this class the base is 
usually rounded; the kerns do 
not correspond, that is, one 
will be straight and the 
other curved. 



Ihe typical letter of 
this class usually shows a 
slight wave line in the stem. 
The angle made by the keim 
and the stem is large* 

Double letters are gov- 
erned by the law of digraphs, 
not by that of single letters* 



The second loop shorter 
at top and turns slightly to 
the right; width of loops 
nearly equal at base; top keni 
i^icliied to sharpness; kem at 
base usually close* 



?<?»/ 






g 




/I 



m 






m w 



B Form 



The lower loop is at- 
tached a little to the left 
of the center of the oval; 
the connecting line is usually 
thin* 



The stem of the letter is 
characteristic; a line drawn 
upward through the loop so as 
to intersect it at the middle 
of the upper part of the cuirve 
tends pronouncedly toward the 
right. 



In the typical letter of 
this class the kerns at the 
ends, whether curved or straight 
show a correspondence with 
each other. 



The typical letter of 
this class has the character- 
istic stem rounded into a 
small, close kern* 



Nearly even at top; second 
loop wider at base than the 
first; top kern rounded, and 
corresponds to the kem at 
the base. 



LOOKER CASE ITALIC LETIERS IIJ 
"THE I. M. POEM" 



A Form 

Letter slanting; top kern 
inclined to sharpness; kern at 
base usually clear. The loop 
tends tov/ard the right at the 
top iii the same manner as that 
of the second loop in the e^ 
form of m 



n 



B Form 

Nearly erect; top kern 
usually rounded; the two kerns 
correspond. The letter shows 
a wideness at the base correspond-, 
ing to that of the second loop in 
the b form of ra» 



There are many varieties 
of small Oj and it is difficult 
to assign them to their proper 
classes. The a form letters show 
the slant characteristic of that 
form and are best classified by 
comparing them with the capital 
letter, which is less symmetrical 
than the b form. 



^' 



If a line were drawn lightly 
along the inside of the capital 
of the b^ form it would show 
almost perfect symmetry. This 
appears also in all the well- 
printed lower-case letters of this 
fona* 



Stem of nearly uniform thiclcness . . 
throughout, or slightly shaded below 
the line of writing; loop shows only 
slight narrowing toward the base, but 
slants downward where joined to the 
upright. 




Stem often thick at top; loop 
joins the upright almost at a 
right angle. 



The letter has the slant 
that is characteristic of the a 
form. The first kern is ^all mid 
tends to sharpness; the second 
kern is rounded. There is us- 
ually a greater breadth at the 
top in the a form than in the ^ 
form. 



,-<:■ 






The left kern is usually 
distinct and strong; the two 
differ only slightly. The up- 
ward stroke of the letter is 
usually str-ng and distinct. Ihe 
letter is usually somewhat neirrow 
at the top. 



There sure long and short 
letters in both forms. The base 
in either case is nearly horizon^ 
tal. The long ^ of the a form 
is more slanting than th'at of the 
b form* 



• 


■ "^ 'I-' ]Si' 










J 


^^ :-, .-^J^ 


/ 


1 ^W''' 


•• f ■ 


i c-j -.M 




I 


! ■^)/- 




J 

s 


i 





The long ^ of the ^ form 
is usually upturned at the base 
and the slant of the letter is 
not narked* The short letter has 
the same characteristics. 



LO'/VER CA3B ITALIC LETTERS IN 
"Ti^ I.M. POEM" 



a Foi^Ji 



b Form 



Stem of nearly uniform 
thickness, t'orns slightly to 
the right a little above the 
base. 



Stem usually heavy at the 
top, dininishes gradually toward 
the base; foot free. 



The t/pical letter of this 
class has the slant of the 
a-forin; the first kern straight; 
the second curved, or vice ve^sa. 
The connecting line between the 
uprights is lower thaii in the 
b-form« 



First point of base sharp, 
second point blunt. The letter 
is flat topped. 










W 





m 



Letter nearly erect; the 
kerns correspond with each other. 
The connectiiig line joins the 
second upright at a higher point 
in the b-fonn than in th.e a-fom. 



Both points of base .sharp; 
first and third stroke on the 
left extend in curves above the 
level of the body of the letter. 



Narrow at top; second stroke ^' 
bends tov/ard the first. 




No example I 



DESGhlPTION CF THE DIGRAPHS IK 
"THE I. M. POBI". 



The" ucicri of e slanting £ 
that shows Bn angle in the base, 
with a ^ that cones well down to 
the line of writing with the 
Blent of the a fonii, gives the 
conbination "aa". 




No example* 



The union of a slanting £ 
that shows an angle in the base, 
with a _t that approaches the £ at 
the base, e-nd has a crose-ber that 
thickens toward the right gives the 
combination "ab". 








The union of £ well-rounded 
at the base with a Jb that coises 
well clov.li to the line of writing 
with the slant of the a form, 
gives the combination " ba* *> 



The union of a short, well- ^^ 

rounded i^ with an £ narrow in the jrjf 

head and"angular in the base gives ^^ \ 

the combination "aa". i 



No example • 



No exaoqple* 



The union of a somewhat 
large J^, the kem and base 
corresponding, with an 8_ 
narrow in the head gives the 
combination "ba"* 



The union of a long £ 
having a wide curve at the topj 
with 8 _t having a slanting bar 
and somewhat wide angle betweai 
the foot and the stem gives the 
combination "aa" . 




No example* 



BJITIAL lETlER 
Significance determined by context ~ b-fora 









■ -■-' 








-'■%'^- 


^ 


1 






M 




r 


-.• 


■v^^^P 


T 


1 


'^^Lr'V 


•^^; 'Jr 






!,/_. 


*' 


jffy-- 


s 








, <— .^^ 


















■ 






*-u 


K -"" * 


^T 








._-. r:^ 






• j 






















M: 


l&i 










1 




. t 



ROI^-I TYPE IN TITLE 
Upper Case 



a. Fonn 



Large and heavy. There 
is -no kern at the top of the 
second upright. 

A plair.j simple letter, with 
the top and the seriph parallel, 
the fornier usually a thin line. 
—P. A. & CAT. 




Ti 




b. Form 



No example 



Usually heavier than the 
a-form. The top shades some- 
what heavily into the kerns, 
and is not parallel to the seriph 
at the base* 



Tlae letter is \7ide, slender, 
the bar horizontal. 



Lower Case 



-■^/,;i9 





Somewhat heavier than the 
a^-form usually; well-rounded; 
the bar slightly slanting. 



A well-made letter, the 
curve at the top somewhat wide. 



No example 



The letter is 8ome^vhat heavy, 
ajfid is v,dde at the top of the 
loop* 




h 



The letter is somewhat more 
delicate than the e—form and 
is wide at the base. P. A* 



Tlie kern it: S'larp pjrid pro- 
mint^nt, giving tlie letter on 
unnfituritl s.ppoeratice. 






1 



V/ell-made and regular, but 
somewhat heavy. — P. A. & Cat. 



ROMAN TYPE IN TITLE 
Lower Case 



a Form 

The first curve at the top 
Icn-.'cz z':\e stem at a high point. 



Slightly irregular in out- 
line. 



Wide at the .top; well-made. 



There ore several variants 
but all curve upward at base and 
ai-e somewhat narrow* 




b . yorrn 

The curves are regular; the 
seriphs at the base slant down- 
ward in a cegular succession. 



The letter is tall and some- 
what heavy, but well-made. P. A. 



Narrow; not particularly 
well-formed. — P. A. ft Cat. 



The letter is very wide and 
flat at the base* — P.A. 



ROlim TYPE IN POEM 
Upper Case 



A Form 



Top and Base not horizontal. 



The curves of nearly equal 
vddth. ~ Dig. 



A broad, well-made letter; 
the stem rounds into a free 
foot. 



Somev/hat irregular; the 
lov/er part is often narrow. 



The loop has a shallow 
curve at the top, and is some- 
what wide. 




v; 



E 



S 



Lower Case 

^ i a: . ' ■ 






B Form 



No example 



The curves are somev/hat 
wide; the top narrcv/er than the 
base; the letter symmetrical. 



The stem ber.ds slightly to 
the left at the base and the 
foot turns sharply upwrn-d. 



A well-made letter with a 
light bar. — Pro. 



The loop leaves the steni 

with a clear curve; the right 

seriph is lov/ at the base. — 
Dig. 



a Form 



Somewhat delicate and 
v;ell-made; the stem is narrow 
at the top and widens slightly 
at the base. ~ Dig» & Pro. 



Broad and well-made 
although somewhat heavy*— 
Pig. 



Broadj the loop is some- 
v/hat flat at the top« 



R0MA1>I TYPE IN POEM 
Lower Cqse 



The top shows a line at 
the right turning somewhat 
abruptly downwards. —Prp . & 
Dig. 



Long form v;ith lAdde top 
and shallow curve. 





f 



-b Form 



Heavy; of nearly uniform 
thickness throughout; the upper 
kern prominent* 



Some^at slender and deli- 
cate; seriphs carefully placed. 



A delicate letter with the ^ 
loop well rounded top and bottom • 
VJheris it occurs it is changed 
by a, dot -to'the^forra. —• Dig. 



The upward stroke at the 
right and its downward curve 
correspond in slope and direc- 
tion as would the two sides of 
an isosceles triangle. 



Short cvTve at the top and 
somewhat slender 'stem— Dig. 



The letter has a vn.de 
top srid a wide base that 
becomes nearly horizontal. 



i:j t 



The base of this fonn turns 
soon after leaving the stem,— 
Dig. 



II example 



A tall, somewhat awkward 
letter, wider at top than at 
the base. 



ALPHABET 

A-<^a.OLao. 
B-o.a.a.a.b 
C-OLdLab a. 
D-a-atxbb 

C-CLO-bcLO. 

F-aabo-b 
G-aab b a. 
H-a-abb b 
I -a,ba.a.a. 
K'O. b aa,b 
L-o-baba, 
M«a-b o.b b 
M.Okb b a.o, 
O-OL b b o-b 
P-ab b bo. 
a-abbbb 
R- b olclo-ol 
S- b o.a.<xb 
T" b a. aba, 
V-bo.a.bb 
W-b o-bo-o. 
X- b a b a. b 
Y- b abba, 
Z-bu.bbb' 



To the memorie ofM. ff^.Sha^-Jpcare. 

'^^EEwondred(Shak^CpesffQ)that thou mntjlfofoone 

From the WorUs^Sta^^tothe Graues-Tynng-rwmti 
Wee thought thee dedd, hut this thy printed yt>orth^ 
Teh thy SpeEiatotsjthat thou Tt>mt*fl hut forth 
To enter TifithappLtuJe'. JnABorsJrt, 
C^ndye^andliue^tooBeaJecondfart, 
That's hut anEmofMsrtaUtie; 
This, a ^-entrance tosTUfidite. 




Gnat's but a'nr.J^t ofMhrTaliiie ■ 
i ^is,ei ^-entrance to^i Tlaudtte. 



SHAKESPEARE FOLIO 1623-METHUE.\' 'CO' 



I. M. 



I. U. P05I1 

Toths oener ieorj dShak esper. re :b2; mndr edaha kesp« orath attha tnent atMs aaiMr 
baaab aabaa aaaaa baaaa aaaba aabbb aabab abbab baaaa abaab aabaa babba aabaa baaab 

TMrth eiJsrl dsSta gettt hsGra ueaTy I'lngr aaiaei aetha ugfatt lM«<la adbvt thlat hypri 
baaba aabbb aabaa aabbb aabaa aaaaa aaabb abaaa abbaa aabba baaab abbab aabab baaba 

ntadv erihX elsth ySpac tatar athat thauv antet butfa rthTa antar vltha pplau aaAaA 
aabbb aabaa aaaba abbab ababb aabaa aaabb abaaa aabaa baaab aabab baaaa aaaaa abbaa 

ciars ArtCa ndyea ndllu etaae tease eoadp artAh atobu ian£x XXttU artal itleT hlsaA 
aaaba abaaa baaab aaaab ''»"»-»q baeaa abbab abbaa abbab aabab baabb aabaa baaaa baabb 

eentr azicet oaila udlia HI 
ababa aaaaa ababt 



'^■urc'ii for keyes, t^ie he-idinrs o- the Coaedies. 



i^AOIi B\iiOh oy '/S.HULAi.'. 



TYPICAL LETTERS IN "l.M." POEM. 
Italic (Case 2) 



a Form 



b Form 



itter 


Line 


Word 


Lett( 


A 


5 


Art 


A 


C 


6 


Can 





E Pro. 


20 


Expectation 


E 


F Dig. 


7 


Fresh 


P 


G Pro. 


1 


Greece 


G 


M Dig.- 


4 


Moniment 


M 


P 


8 


Plaudit e 


P 


R Pro. 


6 


Regall 


R 


S Dig. 


18 


Sword 


S 


T 


2 


Tyring 


T 


W 


3 


Wee 


W 



a Form 



Cat. 



Pro, 



Pro. 



Italic (Case l) 



etter 


Line 


Word 


Lette 


a 
b 


5 
4 


applause 
but 


a 
b 


o 


8 


Re-entrance 


o 


d 


6 


second 


d 


e 


1 


wondr£d 


e 


f 


4 


forth" 


f 


g 
h 


2 

5 


Sta^e 
with 


6 
h 


i 
1 


3 
6 


pri^nted 
liue 


i 
1 


m 


2 


From 


m 


n 


5 


enter 


n 


o 


3 


worth 


o 


P 

r 

s 

s 


3 
2 
6 
2 


printed 
Graues 
yecond 
Worlds 


P 

r 

f 

s 


t 


1 


that ~ 


t 


u 


3 


but 


u 


w 


1 


wondred 


W 


y 


4 


thjr 


y 



Dig. 



Dig. 



ine 


Word 


5 


An 


5 


Comedy 


1 


WKE 


2 


From 


2 


Graues 


7 


Mortalitie 


7 ' 


Put 


8 


Re-entrance 


4 


Spectators 


15 


Their 


2 


Worlds 




Tdotted to 




make "a") 


b Form 



Dig. 



Line 

4 
3 
2 
3 
1 
7 
2 
3 
7 
2 
3 
7 
2 
4 
4 
1 
7 
4 
1 
5 
2 



Word 

Spectators 
but ~ 
whi£h 
printed 
w_ent 'st 
of 

Tyring 
thy 

MortaHtie 
WorjLds 
must 
an 

Worlds 
Spectators 
forth 
ro~ 
That ' s 
thy 
thou 
with 
th^ (2nd) 



TYPICAL LETTERS IN "l.M." POEM. 
Italic (Case 3) 



p. 2 



a form 



b form 



Letter 



Line 



Word 



Letter 



]f»ine 



Word 



a 


Title 


Shakespeare 


e 


n 


Shakespeare 


h 


* 


Shakespeare 


k 


n 


Shakespeare 


P 


R 


Shakespeare 


r 


H 


Shakespeare 


s 


II 


Shake/^are 



a 


p. A, 


1 R 


e 




Title 


h 


P,A. 


6 R 


k 




- — 


P 




«««««■ 


r 


P,A. 


2 L 


r 


P,A. 


8 R 



Samuel 

Shakespeare 

Nicholas 



Richard 
Jo/eph 



Italic (Case 4) 



a Form 



b Form 



Letter 



Line 



Word 



Letter 



Line 



Word 



S 

w 



P.A. 



Title Shake spea^e 
5 L William 



S P*A. 1 L ^hakespeare 
W Title 1 W 



Large Roman (Case 7) 



a Form 



b Form 



Letter 



Line 



Word 



Letter 



Line 



Word 



e 

f 

h 

i 

m 

o 

r' 

t 



tie 


memorie 


n 


of 


II 


the 


n 


memorie 






» 


memorie 






H 


To 


II ' 


memorie 






1 


the 



e 
f 




Title 


th£ 


h 


P.A. 


Tit. 6 


these 


i 


P.A. 


" 3 


Traged_ies 


m 




Title 


memorie 


o 


Cat. 


Tit. 3 


Volume 


r 


P.A. 


" 3 


T£agedies 


t 


P.A. 


" 3 


set 



Form 



Large Roman .(Case 8) 



b Form 



Letter 



Line 



Word 



Letter 



Line 



Word 



M 

T Cat. 



Title 
Sub-Title 



M 
HISTORIES 



M 
T 



Title 



To 



TYPICAL LETTERS IN "l.M." POEM 
Small Roman (Case 5) 



page 3 





a 


Form 




tter 




Line 


Word 


a 






Shakespeare 


e 






Shakespeare 


h 






Shakespeare 


i 


Dig. 


16 


luliet 


k 


Dig. 




SHakespeare 


P 






Shakespeare 


r 


Dig. 




Shake speares 
Shake/peare 


s 






t 

X 






Exit 



b Form 



tter 




Line 


Word 


a 




1 


Shakespeare 


e 


Dig. 


16 


lulie^t 


h 


Dig. 


9 


Shakespeares 


i 




7 


Exit 


k 




1 


Shajcespeare 


P 


Dig. 


X 


SHakespeare 


r 




1 


Shake speajre 


y 


Dig. 


9 


Shake/peares 


t 


Dig. 


4 


Stratford 


X 




7 


Exit 



Small Roman (Case 6) 



a Form 



Letter 



Line 



Word 



Letter 



b Form 



Line 



Word 



£ 
S 



Dig. 



7 

21 



Digraph 
ct 



ct 
— • 



ct 
t— 

ct 
I I 

is 



IS 
_ I 

is 



Pro. 



Dig. 



Line 
5 
6 
4 

20 
8 
5 
3 



Exit 
^hakespeare 



E 
S 



Initial Large Roman (Case 10 ) W — b form 

Italic (Case l) 
Digraphs. 

Word 

Actors 



acte 

Spect^ators 

Expectation 
I I 

This 

This 
I 

thi_s 
t 



S^hakespeare 



grapt 


1 


Line 


Word 


is 
t • 


Dig. 


3 


is 
1 1 


A 




1 


wentVt 


71 

t 


Dig. 


3 


ffiu/l 


-A 

1 


Dig. 


3 


J^one 
1 


A 

1 t 


Dig. 


14 


mi/t 
1 1 



DOTTED LETTERS 
Letters which are changed to the opposite form because of the presence of 
one or three dots are indicated in the photographs of the alphabets by a large dot 
above the letter, "l.M." POEM 











changed 


Line 


Word 
so one 


Letter 
.e 


Form 
b 


to 


1 


a 


2 


the (1st) 


h 


b 


a 


2 


Worlds 


W 


b 


a 


3 


thought 


u 


b 


a 


3 


thee 


e 


b 


a 


3 


printed 


e 


a . 


b 


4 


thou 





b 


a 


4 


forth 


h 


b 


a 


5 


enter 


e 


b 


a 


5 


applause 


u 


b 


a 


6 


and 


n 


b 


a 


6 


liue 


u 


a 


b 


6 


part 


P 


a 


b 


8 


a (1st) 


a 


a 


b 


8 


a (2nd) 


a 


a 


b 


Title 


of 





b 


a 



"I.M," POEM 
Reference numbers to letters taken from other places, 



No. 

1 

2 

3 

4 

5 

6 

7 

8 

9 
10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 
21 
22 
23 
24 
26 
26 
27 
28 
29 
30 
31 
32 
33 
34 
35 
36 
37 
38 
39 



Letter 
o 

T 

r 
W 
a 

s 

T 

y 

c 

c 

t 

M 

is 

P 

i 

S 

r 

£ 

S 

k 

r 

G 

m 

h 

h 

e 

P. 

is 

ct 

i 

R 

h 
t 
P 



Case 
7 
8 
7 
4 
3 
3 
5 
1 
2 
2 
1 
2 
1 
5 
2 
1 
2 
7 
4 
3 
2 
6 
5 
5 
2 
1 
3 
5 
5 
2 
1 
1 
5 
2 
1 
1 
7 
7 
5 



Form 
b 
a 
b 
a 
b 
b 
b 

bb 
a 
b 
b 
b 
b 
b 
a 
bb 
b 
b 
b 
b 
a 
a 
a 
a 
a 
b 
b 
b 
b 
a 

ab 
bb 
a 
a 

ab 
ba 
b 
b 
b 



From 


Line 


Cat. 


Tit. 3 


Cat. 


Sub-title 


P.A. 


Tit. 3 


P,A. 


5 L 


P.A. 


1 R 


P.A. 


8 R 


Dig. 


9 


Dig. 


14 


Pro. 


1 


pro. 


15 


Dig. 


2 


Cat. 


5 


Dig. 


2 


Dig. 


4 


Dig. 


4 


Dig. 


3 


Pro. 


7 


P.A. 


Tit, 3 


P.A. 


1 L 


P.A. 


2 L 


pro. 


20 


Dig. 


21 


Dig. 


1 


Dig. 


9 


Pro. 


1 


Dig. 


3 


P.A. 


6 R 


Dig. 


9 


Dig. 


16 


Dig. 


7 


Dig. 


5 


Pro. 


20 


Dig. 


16 


Pro. 


6 


Dig. 


3 


Dig. 


3 


P.A. 


Tit. 6 


P.A. 


3 


Dig. 


1 



Word 
Voltjme 
HISTORIES 
Tragedies 
William 
Samuel 
Jo^ph 
Shake/pea res 
mi/t " 
^cene 
Their 
thx (2nd) 
Remedy 
whi£h 
Stratford 
Moniment 
is 
Wt 

according 
Shakespeare 
Richa£d 
Expectation 
^hakespeare 
SHake spear e 
Shakespeares 
Greece 
must 
Nicholas 
Shakespeares 
luliet 
Pre/K 
ThJ^9 

Expectation 
luMet 
Re gall 

^tone 
these 
se^ 

SHakes_£eare 
(dotted) 



WE WANT THESE PLAYS AND OTHER WRITINGS BY THE SAME AUTHOR WHICH WERE CONCEALED BY HIM 

IN CIPHER THREE HUNDRED YEARS AGO 



THE CATALOG VE 

of the several Comedies, Histories, and 
Tragedies contained in the Cipher 


COMEDIES 


NOTABLE 
TRANSLATIONS 

The Iliad {Homer) 

The Odyssey {Homer) 

The Mncid {Virgil) 

The Eclogues, and a few short 

poems {Virgil) 


Seven Wise Men of the If ^ est 
Solomon the Second 
The Mouse Trap 


HISTORIES 


The Life of Elizabeth 

The Life of the Earl of Essex 

The White Rose of "Britain 

The Life and Death of Edward the 
Third 

The Life of Henry the Seventh 


MISCELLANEOUS 

The Life of 'Robert Greene 

Two Secret Epistles, expressly teach- 
ing a Cipher 

Completion of the New Atlantis 

A "Pastoral of the Christ 

"Bacchantes, a fantasy 


TRAGEDIES 


Mary Queen of Scots 

'Rjjhert, the Earl of Essex (my late 
brother) 

'Jij)bert, the Earl of Leicester {my late 
father) 

The Life and Death of Christopher 
Marlowe 

Anne "Bullen 


Histojy, in prose commixed ivith 
verse, of England and a few 
Englishmen. 

Story in verse of the Spanish Armada. 

Bacon's own story of his life, in which 
Marguerite de Valois figures. 

A number of short poems in French, 
written for Marguerite, form a 
part of the story of Bacon's life 
in France. 


THESE TITLES ARE FROM WORKS PUBLISHED IN THE XVIth AND XVTIth CENTURIES, 

DECIPHERED BY ELIZABETH WELLS GALLUP 



COPYR'GHTED. 1 9 1 6, GEORGE FABYAN 



WE HAVE THESE PLAYS WHICH WERE GIVEN TO THE WORLD THREE HUNDRED YEARS AGO 










,f~'^'^' "i^ 




i — i I 



of the feiierall Comedies^ Hiftories^ and Tra- 

ircdies contained in this Volnme. 



COMEDIES, 



^^^i^c Temjhy'L 



to. 10 I. \ 






mm 



^I^T^e tli^o Gerdkmen of Verona. 

The Mary IViucs cflVindfo7\ 

Meafurefor Meafure. 

The Cmiiech ofErrottrs, 

Much adoo ahc-ut Noth'mz^ 

Loues Lahour losl, 

Midfommer N{^hts predmc. 

The Merchant of Venice. 

As you Like it. 

The Tmning of the Shrew. 

All is well, that Ends well 

TwelfeMight^ orwhatyou will 

The Winters Tale. 



61 

lOI 

222 

H5 
i6j 

185 

208 

^04 



HISTORIES. 



Thelifi: and Death of^?ig John. Fol i . 
'ff^eUfeiOr death of Tlichard the fecond. ^^ 



The Fii'ft part oj £{ii{g ilen>y the [owt'i. 46 
The Second Uart of I^Jknry th fourth. ' 74 
J. hr. Life ofI\jng Bcnry the fifi. 69 

The Firfipd) t ofKj}!^ }-l:my the Sixt. 96 1 
The Second part of K^ng'Hni. the Sixt. 120 
The Third part cf King Hc7iry_ the Sixt. 1 47 
The Life ^ Death of T;ichard the Third. J j:^ 
The Life of L\jng Henry the Eight. 205 

TRAGE,r)IEs7^ 



The Tragedy ofQoriolaH tis. 

Titus Andronicm^ 

'L\omeo and Juliet. 

Timon of Athens, 

The Life and death ofjtdim Qczfar. 

The Tra^^edy ofMacheth. 

The Tragedy of Hamlet, 

K^ngLear. 

OthellOjthe Moore ofVenice, 

Anthony and Qeopater, 

Qmheline I^ng oj (Britatne. 



Fol. I , 






109 
151 
152 

281 

546 

3^9 



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